Opus (2025)
Directed by Mark Anthony Green
A young writer is invited to the remote compound of a legendary pop star who mysteriously disappeared thirty years ago. Surrounded by the star's cult of sycophants and intoxicated journalists, she finds herself in the middle of his twisted plan.
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What critics compared Opus to
The movie’s structure honestly has a lot more in common with this year’s Opus than one would think, a vapid and airless thematic presence that can’t even manage to have any remotely eerie or humorous moments.
Him, like this year's Opus, wants to discuss the issues of fame and glory but lacks real conviction, commentary, or understanding of the horror genre to give its contribution to the conversation weight.
I’m reminded of a similar film from earlier in the year: Opus — an equally stylized and ambitious picture, but one that plays all of its cards too early, revealing itself to be an undercooked version of a narrative we’re all familiar with and that we’ve seen better versions of.
If you’ve seen The Menu (2022) or Opus (2025), then you know the exact trajectory the narrative takes — the near mythical celebrity is not-so-secretly a monster with ulterior motives, which gradually becomes clear over a week of specially tailored practice sessions.
It even shares some similar narrative DNA with another 2025 release, Mark Anthony Green’s Opus, for the way it depicts a mystifying star inviting people—or in this case, one person—to his home to participate in some unconventional and questionable cult-like rituals.
I haven't felt this disappointed by a film since A24's Opus.
After the disappointing Opus (2025), I wasn’t sure about Death of a Unicorn.